Newspaper Page Text
i
you
u»«
’11
“Apply
in
walking
the
same
principles
of
grace
* and
beauty,
of
freedom •
and
power,
No. 5-HOW
TO
ACQUIRE A GRACEFUL AND HEALTHY WALK
Koui DancinpDcuelops a
Fifth of an Instructive Series of
Articles by the Well--Kjioum
Dancer, Ruth St. Denis
T HIS newspaper presents to-day the fifth of
a series of articles by the most graceful
woman in America. Miss Ruth St. Denis
is the foremost dancer in the United States. Her
fame, not limited to her own country, is world
wide.
Miss St. Denis has literally danced before
kings, having been received and admired in the
courts of Europet She is a mistress of the art
of expression without words, pantomine. and is
deeply learned in the grace and beauty lore of
the Qrient. She advises her countrywomen up
on a subject in which every woman is interested,
how to improve her figure, and tells them in
clear, forceful manner and careful detail how
this can be done. She does not hesitate to point
to the faults in the figures and carriage of her
countrywomen, but while she tells of the evil
she also describes the remedy.
D ANCING should cause the
dancer to walk with east and
gcace. That it does not al
ways do so is the fault of the dancer.
I There are singers whose voices,
enchanting when they sing, are sin
gularly unpleasant while they talk.
That is the fault of the speaker.
Dancers would walk well and singers
would talk well if they applied to the
commoner art. the principles they
use in the practice of the more un
common one.
To make this quite clear let me
remind you that in dancing we apply
the principles or ijieas of power, of
freedom, of grace, of beauty. But
we rfegard walking as a utilitarian
thing. When we think of it at all
,we think of it as a weed in the gar
den of movement. We are careful
about our downsitting and uprising,
,about the pictures we make as we
stand or recline. We tWnk of the
value of every movement and posture
in dancing, but walking is neglected,
forgotten, ignored. Yet we walk
oftener and longer than we dance,
therefore it is well that we give more
thought to it.
Daymen may be excused for giving
little thought to it while professional
dancers set them the example. 1
have myself seen professional
dancers make exqtfisite pictures in
movement to the last figure, which
they w ould finish in the centre of the
stage and, dropping every semblance
of grace or beauty, of freedom or
power of action, shuffle off into the
wings as heavily as the property man
who shifts the scenes. This is a sin
against the artistic sense. It is a
crime against beauty. It is inexcusa
ble in a dancer.
For the bad walking to which our
eyes have painfully accustomed them-
selves ballroom dancing is in part
to blame. Ballroom dancing is ridi
culous. It means nothing. If you do
not grasp this truth at first, place
your hands over your ears the next
time you go to a ballroom and watch
the figures jumping or slipping about.
You are hopelessly without humor
if the? spectacle does not make you
laugh.
The experiment shows, that the
dance was dependent upon the mu
sic. Shut out the music, and without
strain of the imagination you could
fancy yourself in an asylum fc the
insane. I plan all my dances with
out music. I could easily dispense
with the music. It is superfluous
and a mere) concession I occasionally
make to a rather general present
liking. I look upon it as a crutch
that I am anxious to caBt away.
Genuine dancing is drama. Every
action means something, and what it
means is patent to everyone. Even
the turkey trot and the tango, con
demned as they are by many and
lacking in good taste as they cer
tainly are, are at least not aimless.
Shutting out the music, one can still
understand perfectly what the dances
mean. They are sex dances and rep
resent courtship, pursuit. They are
grotesque, but meaningful.
Having made apology and explana
tion for the bad walking of the day,
the slouching, careless, broken gait,
I will tell you how a reform may be
accomplished in all cases. Walking,
like every other manifestation of
life, has a motive. Reveal the motive
by your walk. For instance, we will
&ay that it is a lovely June day and
you* want to go out of doors and satu
rate vourself with sunshine. Your
motive is to enjoy. With this thought
in mind the body naturally reflects
it. You walk slowly to efijoy the
sights by the way. As you saunter
your head is held up, your shoulders
back. You are thinking, “I am free
to enjoy this beautiful day. 1 ou
walk freely and easily, with little
power, but with the beauty of un
obstructed motion.
But suppose you have a problem
tq solve and you are sure you can
best solve it while walking. Motion
does in many cases aid thought. Men
instinctively pace the floor when in
deep thought. The head is bent for
the head bows itself in thought, the
shoulders are bent forward and the
walk is rapid.
One warning. Keep the thought of
freedom of motion in the foreground
of your mnd. If while you walk
you feel restricted by narrow skirts,
or tight shoes, or binding garters, or
stays, your limbs will not move
Steadily forward, but will divide their
motion with an up and down one.
7?gtch a woman walking in a tight
hobble skirt and the sight is gro
tesque, Her knees move up and
down as though she were a wooden
By RUTH ST. DENIS
(The Most Famous American Dancer)
jack-in-the-box. If the skirt be slit
and pleats set in. or a petticoat of
the same color fill the gaps, her walk
is far more graceful and much nearer
to normal. The natural walk is loose
and long stepped, a kind of lope, the
movement being a swing from the
thigh, the knees being inactive and.
for the purpose of that walk, useless.
You might as well leave your knees
at home save for their service if you
drop /your handkerchief and there
is no gallant about to pick it up, or
unless you saw some beautiful child
and wished to cultivale its acquaint
ance.
dancing.’
i do not agree with the generally
accepted definition that walking is a
continuous falling and recovering of
oneself from falling. Its mechanism
is that of a partial fall, but if the
rest of the definition about the re
covering were true we would walk
with our faces upturned and our
shoulders back, Which is the atti
tude of recovering from a fall, where
as the natural and easy walk is a
slight bending forward, as though
yielding in a degree to the law of
gravity.
How does dancing apply to all
this and all this to dancing? Both
“It is the lack
of balance and
poise that makes
the walk awk-
w a r d. Secure
them by special
practice. '
If a dancer s walk is awkward it is because she forgets
to practice the poise and balance of the dance.”
, f...
conform to the same standards, or
should do so. We dance as we think,
and as we think, we Walk. Think of
freedom, grace, power, beauty, and
your walk will reflect them.
As in every other movement, walk
ing should provide us something to
do, else it will be aimless and point
less and of foolish appearance* The
person who is walking with no par
ticular purpose is self-conscious, and
to be self-conscious is to be timid,
and to be timid is to
be awkward.
There is a lesson in
the awkward child.
Shy and selfconseious,
she squeezes herself
into the smallest space
possible and gets as far
away from everyone as
she can. That is because
she has nothing to do.
I say to her. “Stfsio. will you bring
the sandwiches?" and she is a dif
ferent child. She conies out of her
corner, smiles and walks out of the
room with perfect poise. She has
something to do.
Know what you are walking for
Say, “I am going to walk for exer
cise," or "I shall take a walk to aid
me in thought," and you will take
the right posture. Thought governs
sWaij Irwin’s Jauorite Recipes
No. 3 of a Brand New Cooking Series by Amer
ica’s Most Popular Comedienne, and Best Cook
everything. Make your walk mean
ingful and all the other attributes
will take care of themselves.
One-reason why dancing should
lead to a graceful walk is that danc
ing does not permit one to be encum
bered by clothes. Take this hint
from the dancer. The fewer clothes
consistent with modesty the better.
Fancy anyone dancing well with a
hat on! And as for hatpins, I never
wear them. 1 will not wear a hat
that requires them.
That is one reason why women
walk badly and it ts a condition that
no one can control, if she permits
it to exist. Woman is clumsy be
cause she is overweighted with
clothes, or if she does not wear too
many clothes they are so arranged
that they restrict her movements. In
dressing for walk, approximate' thq
freedom of motion you would have!
if you wore no clothes at all. Lett
the skirts be full enough or open
enough—the sldepleats now in use
are a godsend of fashion, so that you
may swing the leg easily from the
thigh and your steps be at least as
long as the length of your foot.
By MAY IRWIN,
The Best Cook on the American Stage
T HE, worst sin of breakfast is
its monotony. A cereal, ba
con and eggs, chops, some
indigestible and temper-provoking
hot bread, and coffee, tie same
thing day after day throughout the
year, and it has becone the most
despised of meals. Some have de
spised it so that they dq without
it. Others think the breakfast of
continental Europe, a roll and coffee,
with perhaps some jelly or marma
lade. enough. I do not. For the
idlers, it may suffice.
Those who produce nothing are jus
tified in not consuming much.
- Persons who work, and thinking is
the hardest work, need a nourishing
first meal.
One goblet of orange juice, one
rasher of bacon, Dick's biscuits,
coffee.
This breakfast, as all the others,
begins you see, with a goblet of
orange juice. Nothing could induce
me to drink the two or three glasses
of cold water on rising that so many
health culturists recommend. I re
fuse to believe that a pint or more
of cold water is a wholesome bath
for the delicate lining of a long-fast
ing stomach. And raw fruit is at
that time difficult of digestion. The
orange juice should be served pure.
Remove the pulp and seeds with a
spoon before serving. If you give
orange juice a fair trial, as the vend-
May Irwin, in Her Own Kitchen, Pre
paring One of Her Famous Dinners.
ers of patent medicines say, you will
accept no substitute. It refreshes
and soothes the stomach.
I collected on my travels recipes
of the best dishes I met. and this
recipe for cooking bacon I got, as
you may surmise, from its flowery
phraseology, in Georgia.
“To crisp bacon to such point of
toothsome delicacy that it breaks In
the mouth yet liberates no suspicion
of grease, lay the slides on a hot
spider and frequently turn them.
Pour off the melted grease as it
gathers. When the bacon is brown,
lift it carefully upon, soft paper and
set It in the oven to dry. 1,' so pre
pared the bacon will be so free from
grease that you may serve it attrac
tively on a napkin, if you wish.”
The reason there is so strong a
prejudice against hot bread is that
the bread isn't properly prepared.
I have been eating Hot bread every
morning since my feet swung from
a high chair and no one ever accused
me of any form of indigestion. But
1 am careful of my hot bread. Or 1
go still farther back and say I am
careful of the cook who prepares the
hot bread. When hot bread is indi
gestible it is because It has not been
rightly cooked.
For Dick’s biscuits use one quart
of flour, two teaspoons of baking
powder, one teaspoon of salt. Mix
the salt and baking powder thorough-
ly in the flour. Rub in equal parts
of lard and butter, each about the
size of an egg. Mix with cold, sweet
milk as soft as can be handled. Roll
out, not too thin, and bake in a quick
oven.
In coffee, as in friends, the old is
best. I make coffee in the old-fash
ioned way, even to running all over
town to find one of the nearly extinct
species of old-fashioned porcelain-
lined coffee pots. For a family of,
say eight, 1 use two teacups of fresh
ly ground Mocha and Java coffee,
mixed in equal parts, and two fresh
eggs. I break the two eggs, crush
ing the shell, yolks and eggs togeth
er, and pour them over the coffee
grounds, adding two tablespoonfuls
of water, stirring them all together In
a bowl. This is to prevent the mix
ture settling into one hard lump,
holding all the fine essence of the
coffee together in its lumpy grasp. I
let this stand while rinsing the pot
with boiling water, then pour the
water while boiling hot upon the cof
fee, stirring while I pour with a long-
handled porcelain spoon. The stir
ring will prevent the mixture of egg
nd coffee settling into a heavy ball,
and permit the strong flavor of the
coffee to escape into the water. I
then place the coffee-pot on the back
of the stove and allow it to simmer,
not boil, for a half hour, stirring it
vigorously three or four times while
it is simmering
One goblet orange juice. Creamed
ham and poached eggs. Popovers.
Coffee.
For creamed ham and poached eggs
make a smooth white sauce with two
rounding tablespoons of butter and
one of corn starch, with a cup of
milk. Season with pepper only, and
add a cup of finely chopped ham.
Spread the mixture over two rounds
of toast, with a poached egg oji ,-acb.
For popovers use two eggs, one cup
of flour, one cup of milk and half a
teaspoon of salt. Sift together the
flour and salt. Beat the eggs until
creamy. Add the milk and flour and
heat well. Strain. Bake for twenty-
five minutes in popover cups in a hot
oven. Serve on a hot plate, butter
ing each bit as used.
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